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Five Mystical Songs
Ralph Vaughan Williams
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R683
Discovery Miles 6 830
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Ships in 10 - 15 working days
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Various Artists - Celeste (CD)
Celeste, Ralph Vaughan Williams, Gabriel Faure, Sergei Rachmaninov, Gustav Holst, …
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R48
R39
Discovery Miles 390
Save R9 (19%)
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Ships in 10 - 20 working days
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for Tenor Tuba (Euphonium) and piano Vaughan Williams's Concerto
for Bass Tuba and Orchestra was the first major concerto to be
written for the instrument. It was composed in 1953-4 to mark the
50th anniversary of the LSO, and was premiered by the orchestra's
principal tuba player, Philip Catelinet. The original plan to
transpose it for Euphonium was not realised during the composer's
lifetime, and only now, in this transcription by David Childs, has
that goal been attained, with Vaughan Williams's orchestration
deftly transposed and rearranged by Rodney Newton to allow this
characteristic work to enter the repertoire of many more players.
This four-act comic opera celebrating Shakespeares Sir John
Falstaff was given its first professional performance in 1946. The
libretto, written by the composer, is based on The Merry Wives of
Windsor, and interpolates texts by contemporaries of Shakespeare
such as Christopher Marlowe, Ben Jonson, and Thomas Campion. The
work contains English folksong material and fine examples of the
composer's orchestral lyricism and dramatic flair. Music from the
opera was later adapted to form the cantata In Windsor Forest and
the Fantasia on Greensleeves. For this comprehensive new edition,
the editor (and conductor) David Lloyd-Jones has drawn on all
available sources, providing an authoritative Study Score with
critical commentary. The performance materials are newly-engraved.
The orchestral score, vocal score, choral scores, and the optional
Episode & Interlude are also available on hire. Please note
that this score comes as two separate volumes.
This well-known song by Vaughan Williams is arranged here for mixed
voices, with additional lower voice parts by Alan Bullard. The
pastoral imagery in the lyrics is beautifully brought to life by
the trademark folk-inspired melodies, fluid harmonies, and a lively
piano accompaniment. Originally published in The Oxford Book of
Flexible Choral Songs.
for violin and mixed choir This innovative and imaginative choral
arrangement of The Lark Ascending has the original solo violin part
accompanied by mixed choir. It sensitively sets George Meredith's
poem (on which the original orchestration is based) and combines
this with wordless vocal lines and vocal solos, preserving the
texture and timeless effect of the original. Commissioned and
premiered by the Swedish Chamber Choir, the work has also been
recorded by the choir under the direction of Simon Phipps.
This engaging work was composed in 1929 and premiered the following
year by its dedicatee, the legendary Spanish cellist Pablo Casals.
The five folk songs on which the work is founded are 'Salisbury
Plain', 'The Long Whip', 'Low down in the broom', 'Bristol Town',
and 'I've been to France'. This arrangement for solo viola and
orchestra is compatible with the original orchestral accompaniment,
materials for which are available on hire.
Vaughan Williams's famous romance for solo violin and orchestra is
given new life in this beautiful arrangement. For the first time,
violinists can perform the original solo line as part of a string
quartet, while also joining the other players for the longer tutti
sections. Perfect as a rehearsal tool in preparation for a
larger-scale orchestral concert, the arrangement is also ideal for
performance in a chamber recital.
Vaughan Williams's famous romance for solo violin and orchestra is
given new life in this beautiful arrangement, which features the
original solo line as part of a string sextet. Perfect as a
rehearsal tool in preparation for a larger-scale orchestral
concert, the arrangement is also ideal for performance in a chamber
recital.
Vaughan Williams's famous romance for solo violin and orchestra is
given new life in this beautiful arrangement, which features the
original solo line as part of a string sextet. Perfect as a
rehearsal tool in preparation for a larger-scale orchestral
concert, the arrangement is also ideal for performance in a chamber
recital.
Vaughan Williams wrote Symphony No. 8 between 1953 and 1955 while
in his eighties. It is his shortest symphony and considered by many
to be his least serious. Aside from a few sombre moments, the
symphony is optimistic in mood and displays Vaughan Williams's love
for exotic and colourful combinations of instruments with a
percussion sections that, he said, employs "all the 'phones and
'spiels known to the composer". For this newly engraved edition,
editor David Lloyd-Jones has consulted all extant sources and
materials to create a score matching the composer's intentions. The
full score is completed with Textual Notes and Preface, and
accompanying orchestral parts are available on hire.
for SATB wordless chorus, viola solo, and orchestra A suite for
solo viola, wordless chorus (SATB), and small orchestra, Flos Campi
is one of Vaughan Williams's most enigmatic pieces. Although the
six movements all borrow their titles from the Old Testament's Song
of Solomon, the chorus never articulates a single word. Instead, it
serves as a section of the orchestra, creating an elegant vocal
texture and backdrop to the viola's haunting solo lines. The work
was premiered in October 1925 by the violist Lionel Tertis, singers
from the RCM, and the Queen's Hall Orchestra, directed by Sir Henry
Wood.
for soprano solo, SSA chorus, and full orchestra This new edition
of Vaughan Williams's Symphony No. 7, the Sinfonia Antartica, has
been prepared by David Matthews with support from the Vaughan
Williams Charitable Trust. The work was drawn from the music
Vaughan Williams provided for the film Scott of the Antarctic in
1947 and was completed in 1952. In it the composer skilfully evokes
the sparse beauty and grandeur of the landscape with a large
orchestra and percussion section, including - famously - a wind
machine, to create a work of great power and intensity. This new
edition contains an introduction and textual commentary and is
published as a full score, study score, and women's chorus, with
all performing material on hire.
In this engaging work Vaughan Williams takes advantage of the
expressive possibilities of the cello, ranging from wistful and
melancholic to lively and jovial. It was composed in 1929 and
premiered the following year by its dedicatee, the legendary
Spanish cellist Pablo Casals. The five folk songs on which the work
is founded are 'Salisbury Plain', 'The Long Whip', 'Low down in the
broom', 'Bristol Town', and 'I've been to France'. Materials for
the orchestral accompaniment are available on hire.
Vaughan Williams wrote his Symphony No. 8 between 1953 and 1955,
when he was in his eighties. It is his shortest symphony, and is
considered by many to be his least serious. Aside from a few sombre
moments, the symphony is optimistic in mood and displays Vaughan
Williams's love for exotic and colourful combinations of
instruments, with a percussion sections that, he said, employs 'all
the 'phones and 'spiels known to the composer'. For this newly
engraved edition, editor David Lloyd-Jones has consulted all extant
sources and materials to create a score matching the composer's
intentions. The full score is completed with Textual Notes and
Preface, and accompanying orchestral parts are available on hire.
Despite having been composed in the years 1938-43 when Europe was
ravaged by war, this work radiates peace and serenity. It marks the
peak of the lyrical modalism of works such as the Fantasia on a
Theme by Thomas Tallis (1910), Flos Campi (1925), and Job (1931).
Although it is not a programme symphony, it draws heavily on John
Bunyan's The Pilgrim's Progress for inspiration, featuring several
themes that were sketched for (and eventually used in) Vaughan
Williamsas 1951 opera. In addition, Bunyan's words 'He hath given
me rest by his sorrow and life by his death' were originally
inscribed over the third movement. This idea of strength drawn from
religion must have been especially potent when Vaughan Williams
conducted the premiere of the work at the Proms in 1943, during the
dark days of the Second World War. The ending in particular has a
sense of rising above all worldly concerns into a higher spiritual
plane. This edition contains a preface on the history of the work
by Michael Kennedy. Orchestral parts are available on hire.
Vaughan Williams's 6th Symphony was composed immediately after the
Second World War and its dramatic and at times violent musical
language was long felt to be a comment on that conflict (though the
composer denied it had any programmatic intent). Its power and
invention were immediately recognized and it has remained part of
the concert repertoire ever since. For this newly engraved edition,
editor David Lloyd-Jones has consulted all extant sources and
materials to create a score matching the composer's intentions.
Fully compatible orchestral parts are available on hire.
Vaughan Williams's famous romance for solo violin and orchestra is
given new life in this beautiful arrangement. For the first time,
violinists can perform the original solo line as part of a string
quartet, while also joining the other players for the longer tutti
sections. Perfect as a rehearsal tool in preparation a larger-scale
orchestral concert, the arrangement is also ideal for performance
in a chamber recital.
for SSA and piano or string orchestra or full orchestra This is an
exuberant and animated chorus from the cantata In Windsor Forest,
which was itself adapted from the opera Sir John in Love. The text
is from Act II, Scene 3 of Shakespeare's Much Ado About Nothing,
and features the women's chorus gleefully denouncing men as
'deceivers'. The colourful orchestral accompaniment is available on
hire in versions of full orchestra or string orchestra and piano.
This brief piece for wind band, composed in 1939 to open a pageant
at the Royal Albert Hall, is simple but highly effective. It opens
with a rousing brass fanfare, which gives way to a stirring,
chorale-like passage in which the woodwind come to the fore, before
giving way to the brass as the fanfare returns. Also available in
versions for orchestral winds and brass band. Scores and parts are
available on hire.
Vaughan Williams's Prelude and Fugue in C minor (1921) is
characterized by a sense of drama and punctuated by bristling
dissonances. The Prelude's ritornello-like alternation of chordal
grandeur and rapid imitative sections recalls Bach's great organ
Prelude and Fugue in the same key, while the rhythmically
complicated Fugue, whose subject looks ahead to the composer's
Sixth Symphony, displays great ingenuity in its counterpoint, fully
justifying the assertiveness of its final peroration in C major.
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